A Style that makes Singing look so Simple – Vidushi M. S. Sheela

[ Courtesy: Ganesh-Goddesses-New-Year-2013-HD-Wallpapers ]

We bring you our warm Greetings of the Season and Sincere Wishes for a Very Happy 2013!

We thought we will feature this time a lovely concert held in "Parvathi" in 2005 of Vidushi M.S. Sheela.

The following review of the Music comes to us from Sri R. Sachi ....

" Vid. Sheela is very well known in Carnatic music circles for many years now. She features in prime time slots in big music festivals in the company of well-known accompanists. She has performed in Parvathi festivals four times so far, including in this year’s Puttu Rao Memorial festival.

Hailing from a musically endowed family, Vid. Sheela sang her first notes under the guidance of her mother late Smt M N Rathna, a popular musician of yesteryears. Strict and rigorous training under Sangeetha Kalanidhi Dr R K Srikantan added lustre to her musical prowess. She has a postgraduate degree in Music from Bangalore University, and is a Gold medallist.

We quote a critic who heard her many years ago:

"This disciple of Sangeetha Kalanidhi R K Srikantan has learnt kritis with purity of padanthara and attention to bhava that her rendering of Dikshitar classic "Madhurambikayam" (Hemavathi) touched one's heart. Later, her detailed sketch of Sankarabharanam had a diaphanous harmony that brought out the leonine character of this raga - both in the middle register and the top one - her melody enveloping herself and the audience in a warm embrace. "Enduku Peddalavale", the Tyagaraja masterpiece was striking, in the panoply of moving sahitya, raga enchantment and intellectual application."

- K S Mahadevan, The Indian Express, Chennai, December 18, 1997.

Here, Vid. Sheela has given a most delectable concert effortlessly. To this writer, her singing style is unique in appearing to make classical singing so simple. No doubt that is the result of God’s gift of a voice with depth and range, a keen musical intellect, and excellent training. Her repertoire spans many great composers including Veene Sheshanna, Mysore Sadashiva Rao, Mysore Vasudevachar, Mysore Maharaja, and Dasasahitya, apart from the weighty compositions of the trinity.

The highlights of this concert, with enthusiastic accompaniment by Mysore H.N. Bhaskar on the violin and Vid. Krishna on the mridangam (also Vid. Manjunath on the ghatam) are Lathangi and Bhairavi.

Lathangi is according to “A Raga’s Journey”, a sweet and sour raga. Lathangi could invoke in one’s mind images of a tribal tableau during the Republic Day Parade, showcasing grass-skirted, feather-crowned dancers from the North East, sporting bows and arrows. It is enchanting as well as intriguing. Its instant charm is not without reason. It poses challenges to musicians as this melakarta is quite gingerly positioned with just one-note variations from the scales of popular mainstream ragas like Pantuvarali, Simhendramadhyama and Kalyani. In the words of Prof. S. R. Janakiraman, “when you sing the Chatushruthi Rishabha in Lathangi, you should immediately bring in Anthara Gandhara and Shuddha Dhaivata, to ward off Kamavardhini (Pantuvarali), Kalyani and Simhendramadhyama, as the three fellows will be waiting to seek entrance...” Maybe for these reasons, Lathangi is sparingly attempted by less-than perfect singers. There are also only 11 krithis listed in Lathangi in a popular compilation as compared to 144 krithis in Kalyani!

Here, in this concert, Vid. Sheela seems to thrive as she unfolds the raga and sings Marivere by Patnam Subramanya Iyer, with élan. Then comes Bhairavi. Upacharamu, a classic composition of Thyagaraja, receives royal treatment. She elaborates the raga and also does great niraval and swara prasthara at “Kapatanatakasutradhari”. Bhaskar’s responses, as well as the following tani by Krishna and Manjunath, show how she has built up the tempo in the concert and inspired them.

The closing items in Janasammodini and Pilu establish a clear position in our minds of a great artiste with mastery over the Carnatic idiom in both classic and devotional segments.

So let us welcome 2013 in a fitting way, listening to Vid. M.S. Sheela and her ensemble! "

Concert Details

M.S. Sheela -Vocal
H.N. Bhaskar - Violin
V. Krishna -Mridangam
Manjunath -Ghatam
Held in Parvathi Ramanavami festival, April 20, 2005.

Song List

01. Kambhoji Ata tala Varnam – Swathi Thirunal *** 02. Gananathaya – Gowla- Ambi Dikshitar *** 03. Soagasuga – Sriranjani – Thyagaraja *** 04. Marivere – Lathangi – Patnam Subramanya Iyer *** 05. Sogasujuda – Kannadagaula – Thyagaraja*** 06. Intakante – Kannada – Patnam Subramanya Iyer*** 07. Paripahimam – Shubhapantuvarali – Mysore Vasudevacharya *** 08. Upacharamu – Bhairavi – Thyagaraja ***09. Tani*** 10. Shloka – Hamsanandi, Janasammodini *** 11. Ramamantrava Japiso – Janasammodini – Purandara dasa *** 12. Karuna Jaladhe – Pilu – Traditional *** 13. Sitakalyana – Kurinji – Thyagaraja *** 14. Mangalam ***

Music's Bylanes - II: 2012 - K.K. Murthy Music Festival and T. Chowdiah Awards

July 21, 2005
Late K.K. Murthy and N. Dharam Singh (Ex-CM) celebrate
the birthday of then KPCCI President Mallikarjuna Kharge
[Courtesy: THE HINDU - Photo: K. Gopinathan]

Readers can recall, that as our blog continued to progress, we often continued to reflect on the inspiring activities of the Chowdiah Memorial, that unique building consecrated to the memory of the great Violinist T. Chowdiah by the late K.K. Murthy ( younger brother to K. Srikantiah and youngest son of Sri. K. Puttu Rao).

Nov 24, 2012
India's Union Labor Minister M. Mallikarjun Kharge and Academy of Music Members are seen with award winners: Pt. Vasanth Kanakapur, Mysore Nagaraj, Mysore Manjunath and T.K. Murthy at the K.K. Murthy Memorial Music Festival in Bangalore.
[ Courtesy : The Hindu ]

As an exercise in “lateral thinking”, we also drew parallels with our many experiences of an Alice Tully Hall (in Manhattan), of a Washington Smithsonian and of the BAM (Brooklyn Academy of Music), so perfect within their individual identities.

We often reflected, also, on the many touches that a distinguished memorial like the Chowdiah memorial could do more with, as acts of ‘right’ embellishment.

These were things, that were easily within the reach of a “pro-active” citizenry of music patrons, and not necessarily dependent on any government agency’s help.

We often felt that a few deft touches would render a more complete identity to the man, Chowdiah, who once bestrode the landscape as a colossus armed but solely with a Violin, a man of towering musical knowledge and the command of a giant personality.

Nov 24, 2012
Mridangam’s great Vidwan T.K. Murthy is seen once again, honored with the K.K. Murthy Award by Union Minister Mallikarjuna Kharge and Academy office bearers.
[Courtesy: The Hindu]

(1) As starters, we had felt earlier that the building, recognized as a performing arts museum dedicated to Chowdiah’s illustrious name, needed indeed to house his famous violin for all to view permanently.

We remember having spoken about this and emailed even some people who would hear us out, from time to time. We are not sure , if any “wind” carried our message to any of the powers to be, but a recent report from The Hindu does gladden our hearts.

The Chowdiah Memorial now finds itself in the possession of the famous man’s violin ( click ).

R. Subbaraj Urs, Secretary, Academy of Music: “…Chowdiah’s violin would be under the safe custody of the academy. After all, the hall was designed after his violin..."

Readers will note that T. Chowdiah’s instrument was unveiled earlier, in “Parvathi”, Mysore on April 15, 1970 in the distinguished presence of Karnataka Governor Dharma Vira and Minister Rajasekhara Murthy.

Violin Virtuosos! Vidwan Manjunath and Vidwan Nagaraj celebrate being honored with the KK Murthy awards.
[ Courtesy: The Hindu ]

(2) As we have come to believe with some research, Chowdiah had in his lifetime of seven decades, provided for a staggering number of concerts. He had criss-crossed many a geographical boundary, and squeezed time and space sufficiently, to render many a performance even in a single day.

Granted that not all of his performances were recorded (he passed away in 1967 when the country had barely come to grips with tape recorders), it would still be a safe bet that many a recording by him probably lies scattered somewhere, largely uncared for , in worn out tapes junked in some ancestral holding.

It draws a parallel somewhat , with the findings of the notes of the mathematical genius Ramanujan; the accidental finding of scattered notes in a relative’s abandoned trunk; which discovery became instrumental in sparking a worldwide interest in Ramanujan!

The grass root patrons of music need to provide an 'all around call' for people to release any recordings that they may have of T. Chowdiah into a central custody at the memorial, so that an audio-visual display of a musical era can be dedicated to the legend and his peers in the open foyer of the memorial.

The permanent exhibit should be on anything related with T. Chowdiah: photographs, tapes, writings, compositions, notebooks with each item preserved, tagged and the names of donor persons acknowledged. The recordings should be cleaned and amplified and a playing booth created so that people may hear them at their leisure.

Then only, can a future generation, be made to understand the footprints of a cherished past and the value in a heritage associated in someone’s name.

We hope that another “gust” of the wind will carry our plea to the like minded preservers of the heritage.

Vidwan Vasant Kanakapur conferred with a Lifetime Achievement Award

Music's Bylanes - I

While we wait for our very learned friend in music, R.Sachi ( click ) to process another delectable concert for us, we thought we’d walk the Rasikas through some music's by-lanes .

The following pictures were the results of ‘prying’ into more “Parvathi” albums. This time though, it was courtesy of Shri K.L. Rao’s family. No, not the founding father of India’s Irrigation industry! but the third elder son of Sri. K. Puttu Rao, about whom we spoke earlier as having once lived in Chennai, next to the hallowed Music Academy in Mylapore, and who provided dedication as an engineer to the Chennai Harbor, during the 60’s.

Here are some pictures of Carnatic music’s greats, in a more relaxed venue and in more informal postures.

Could we say that this was their way of “jamming”?

Supreme maestros all! (L to R): U.K. Sivaraman, M.L. Veerabhadriah (Palghat Mani Iyer’s disciple), K.S. Manjunath , T. Chowdiah

T.Chowdiah with Sri K.L. Rao.
It looks to be a respite after lunch,
as we detect the faint outlines of a ‘pan’
being chewed by Chowdiah!

The 'Krishna' of Music! [ click ]
Maestro M. Bala-Murali-Krishna and party!

[ If one views keenly one can also notice Vid. M.A. Narasimhachar in the audience]

Veena Maestro Chitti Babu
pondering away ‘dreamily’
amidst musical notes in a warm up !

Veena’s other great exponent Doreswamy Iyengar
seen with stalwarts Vellore Ramabhadran, K.S. Manjunath, T. Chowdiah

Classicism as the Core: Vidwan O. S. Thyagarajan - 1994

[ The following text is due to R.Sachi ( click ) ]

This time we are happy to feature a well-known senior vidwan, Sri. O.S. THyagarajan. He has come and performed in Parvathi around 8 times over the past few decades.

Recalling his music, Sri K. Srikantiah says, “there are a few artistes who are simple, not after crowd-pulling music, and focused on giving a wholesome concert with classicism as its core value. The foremost among such artistes was Palghat K.V. Narayanaswamy. Sri O.S. Thyagarajan comes in the same mold. A man of few words, I found his music and personality endearing for its calmness."

[Courtesy: The Hindu ]

Gleaning from various sources on the Internet:

Sri O.S.Thyagarajan was born on April 3,1947. He is a classicist who paints in glorious colours the fine shades of raga, krithi and swara in his numerous concerts.

He had his earlier training under his father Sangeetha Bhooshanam O.V. Subramanian, and later under the celebrated maestro Lalgudi G. Jayaraman and finally, Sangeetha Kalanidhi T.M. Thyagarajan. An ‘A- Top’ graded artist of the All India Radio and of Doordarshan, he has been giving a large number of concerts well appreciated and relished.

The titles conferred on him are “Sangeetha Choodamani” (Sri Krishna Gana Sabha), Sangeetha Kala Sagara (Kalasagaram, Hyderabad), “Nada Gana Kala Praveena”, “Sangeetha Samrajya” Madurai, “Nadha Booshanam” Shanmukhananda Sangeetha Sabha, and New Delhi.

He is regularly featured by all leading sabhas in Chennai as well as throughout India and has toured many countries, including USA, Canada, Australia, Singapore, Middle East, Malaysia, Hong Kong, South Africa, and many cities in Europe. He worked as Dean, Faculty of Fine Arts, and Annamalai University for 5 years. He has trained many disciples too.

In an interview he gave a couple of years ago, OST, as he is fondly known, called upon artistes to spread “Sasthriya Sangeetham." He recalled his first lesson from his guru in 1980. “Never try to get applause by singing something absurd and if you don’t get applause despite sensible singing never bother. This is one lesson I remember even today,” he said, revealing his utmost reverence for the two Thyagarajas – the saint composer and his guru.

In this concert held in Parvathi in 1994, we enter straight away into a concert in full swing, to the strains of the raga Asaveri. Featured in Thyagaraja’s opera, Prahlada Bhakti Vijayam, the song is a plaintive cry by the devotee to the lord:

" RARA MAYINTIDAKA " (Asaveri)

Oh Raghuvira! Tyagaraja's fortune! Pray, come to my house; I bow to you. Bless me. I cannot bear the separation any longer. Till now, with unfulfilled desire, I have been in long and vexatious search for you. Pray, do come today at least, in all your glory. My purpose in seeking you is to implore you every morning to teach me, to have the privilege of the Darshana of your enchanting face, to stand by your side and worship you every day, and thus be blessed. Believing that you alone are my refuge, I have allowed myself to be in your grip. Why do you forget this, and why do you not come to me promptly?

(Taken from The Spiritual Heritage of Thyagaraja)

The other songs, with enthusiastic accompaniment on the violin and mridangam, are a scintillating Shanmukhapriya “Marivere”and “O Rangashayi”rendered in a majestic Kambhoji by Vidwan O.S. Thaygarajan.

The concert is well recorded and the five items featured all showcase melody, virtuosity and bhava, all in the mould of pure classicism.

Concert Details: ( "Parvathi" Ramanavami, April 12, 1994 )

Vocal - O.S. Thyagarajan
Violin - H.K. Venkatram
Mridangam - T.A.S. Mani
Ghatam - G.S. Ramanujam

Song List:

01.Rara Mayintidaka – Asaveri – Thyagaraja*** 02. Marivere – Shanmukgapriya – Patnam Subramanya Iyer *** 03. O Rangashayee – Kambhoji – Thyagaraja *** 04. Narayanaya Namo Madhavaya – Karnaranjani – Narayana Tirtha *** 05. Sri Raghavam - Shloka – Kapi, Varali, Sindhu Bhairavi ***

Worshipping Chamundi – The Spirit of Navaratri

BEGUM PARWEEN SULTANA & USTAD DILSHAD KHAN

We feature during this Navaratri, music from the duo of Parween Sultana and Dilshad Khan. They performed in Parvathi 22 years ago. In this concert, they have sung a beautiful khayal with words of prayer to Goddess Saraswati, the deity conferring the gifts of music and arts. Then follow a thumri and bhajan in Pahadi. They round off the concert with their signature bhajan “Bhavani” in Mishra Bhairavi.

This concert is significant on many levels. The famous city of Mysore, with its presiding deity of Chamundi and the celebrated Dassara Navaratri festival, attracts musical stalwarts from all parts of the world. Just as the Maharaja was the patron of philharmonic music and western composers, he was also a great Sri Vidya "upasaka" and Carnatic composer in his own right. So Mysore symbolizes a very open milieu for excellence in music, and also symbolises the spirit of Devi worship (especially during the Navaratri festival). Navaratri is dedicated to worshiping the Devi in her forms of Saraswati, Lakshmi and Chamundi or Bhavani.

CHAMUNDI DEVI - MYSORE [ Courtesy: shobhakarandlaje.com ]

We also offer our respectful remembrances of the great Vidwan Madurai Mani Iyer, whose birth centenary is on 25 October 2012. We feature here a fine article ( "Periyava & Music" - CLICK ) by Mr B. M. N. Murthy [see Footnote], which narrates how this Maha Vidwan was known for his wonderfully beautiful and worshipful music.

We reproduce (partially from the article):

Happy Navaratri!

Concert Details

Begum Parween Sultana & Ustad Dilshad Khan – Hindustani Vocal Duet

Held at Parvathi, October 10, 1990

Song List

01.Hamsadhwani Khayal *** 02. Thumri – Pahadi *** 03. Nandanandana Giridhari Bhajan*** 04. Bhavani Dayani – Bhajan – Mishra Bhairavi ***

[ FOOTNOTE: Mr. B.M.N. Murthy has had a very distinguished career in Civil Engineering, retiring from professional life as Chief Engineer at LIC, India. What has been very remarkable in his life, is his rare collections and subsequent writings on India's great heritage and achievements. Many people, particularly the younger generations, have been very thankful to him for disseminating this knowledge to them. The Hindu, as we tagged previously, also wrote on his inspired efforts. From time to time, we too draw on his articles. He hails from a family of renowned "Vaidikas" connected very closely with the House of Sringeri ]

Report on Sri K. Puttu Rao Memorial Festival – 2012

The second annual K. Puttu Rao Memorial music festival was held in Mysore at Jagan Mohan Palace auditorium from 31 Aug. 2012 through 4 Sept. 2012.

The festival got off to a flying start with a violin duet recital by Mysore M. Nagaraj and Mysore M. Manjunath. Before the concert, K. Srikantiah welcomed the gathering to the 5-day festival he was conducting in memory of his late father Sri K. Puttu Rao.

[ Speech in TRACK PLAYER; English Translation in APPENDIX I ]

Mysore Dr.Manjunath also spoke briefly about his and his elder brother Nagaraj’s close association with Mr Srikantiah and about the music at "Parvathi" from their childhood days.

[ Speech in TRACK PLAYER; English Translation in APPENDIX II ]

On the second day, Abhishek Raghuram performed and enthralled the audience with his vocal music. He recollected how he, as a child, had listened to a rendition of “Krishna Nee Begane Baaro” by Lalgudi Jayaraman (his maternal grand-uncle) that had been performed in a Parvathi concert to the mridangam accompaniment by his grand-father Palghat Raghu. Abhishek sang that particular song in Lalgudi Jayaraman style, to the immense enjoyment of the rasikas.

Neyveli Santhanagopalan gave a classic vocal recital on the third day, full of Bhakti and Soukhya, to the delight of critics and common man. Next day, M S. Sheela gave a traditional performance with items which were a combination of the popular and not-so-common kritis in her ever-youthful, melodious style.

The grand finale of the festival was a lively Kathakalakshepam by Vishakha Hari. She chose a portion of Sundarakanda of Ramayana as her subject. The discourse was in Tamil and English. Having undergone extensive musical training over the years under the maestro Lalgudi Jayaraman himself, Vishakha gave a splendid display of her prowess in Carnatic music, , and her fluency and command over English as well as Tamil during the discourse. This was her first Harikatha performance in Mysore city, and the audience were left in awe, asking for more.

The main artistes were ably supported by well-known accompanists in all the concerts, who had a big role in the success of the concerts. Music critics who have reviewed the concerts in various newspapers [ see review1 and review 2 ] have hailed the success of the performances.

FEATURED CONCERT

Mysore M. Nagaraj and Mysore M. Manjunath - Violin Duet
Neyveli Venkatesh - Mridangam
Ramanujam - Ghatam
T. Dileep - Khanjira

TRACK LIST

00.K Srikantiah-welcome *** 01 Speech -Mysore Manjunath*** 02 Viriboni Varnam – Bhairavi – Pachimiriyam Adiappaiah*** 03 MakelaraVicharamu- Ravichandrika- Thyagaraja *** 04 MarivereDikkevarayya- Shanmukhapriya- Patnam Subramania Iyer*** 05 Manasulo Ni Marmamulu- Hindola – Thyagaraja*** 06 Ragam Tanam Pallavi – Kamboji (+Nilambari, Kanada, Hindustani Todi?)*** Tani Avartanam *** 07 Antakana Dhootarige- Bageshree – Purandara Dasa *** 08 Teerada Vilayattu- Ragamalike – Subrahmanya Bharathi *** 09 Nanati Brutuku- Revathi- Annamacharya *** 10 Bhagyada Lakshmi- Madhyamavathi- Purandara dasa ***

APPENDIX 1

WELCOME SPEECH BY MR. K. SRIKANTIAH

" A hearty welcome to this music festival taking place in memory of my late father K. Puttu Rao.

There is no need for me to introduce the artistes on the stage to you: Vid. Nagaraj and Vid. Manjunath. I have known their father Vid. Mahadevappa from the time he came over from Tamil Nadu to learn music from Vid. Chowdiah’s brother, Vid. Puttasamiah.

Having known artistes from around the world, young and old, I can emphatically state that if any artiste were to be called lucky, that would be Vid. Mahadevappa. Without exaggeration, I can say that Vid. Mahadevappa deserves all the fame for having brought up these two talented youngsters with great discipline and strict musical training, so well. Today, whether it is Tamilnadu, or Maharashtra or anywhere else, these brothers are in great demand. In fact they have so many lead duo violin concerts that they have no time at all for providing violin accompaniment to others. Many times they have travelled overseas and performed extensively. Starting on 5 Sept., they will be touring America and Canada for two months.

Tracing the roots of their success, I can repeat that it is entirely due to their upbringing and discipline imparted by their father. They perhaps never went to movies or stage-plays, or indulged in idle gossip with other musicians. After the departure of Vid. Chowdiah, I was wondering if at all there would be another famous musician from Mysore. I am happy these brothers have come on the scene to carry on the name of Mysore.

The key to violin play is dexterity in fingering and bowing techniques. Nagaraj and Manjunath have this in ample measure. That apart, they have a big repertoire of kritis. Great composers like Thyagaraja have no doubt composed songs with many sangatis, but embellishing them with special ‘sanchara’s, adding swaraprastara without too much or too little, are their forte. In addition, they have great humility and refrain from talking ill of other artistes.

When we held concerts in the home of Parvathi, and Vid. Mahadevappa used to bring along these boys. I had to gently decline admission to the children below 10 and beg excuse as we had a strict rule. These children would then park themselves on the lawns and listen to the concerts. Once Vid. Mahadevappa requested me to hear a young Nagaraj, saying that he was playing the violin quite well. I remember distinctly that this same Nagaraj came home, and played Mohana so well and followed it up with Vasudevachar’s “Ra Ra Rajeevalochana”. I wonder if Nagaraj himself remembers this episode! So also with Manjunath. Each vies with the other in excellence. They have come up with so much talent, I cannot praise them sufficiently.

My best wishes to them for their forthcoming US trip. Let us all pray for their continued success.

A couple of incidents are relevant here. When I had billed Vid. Yesudas for the first time in Mysore in 1972, he had a car breakdown near Mandya and could not reach Mysore in time to perform on the day. A huge audience who had gathered, were disappointed and I did not hide my anger when he called up early next morning. This episode, providentially, paved the way for our deep-rooted friendship lasting so many decades till date! Vid. Yesudas apologized profusely and requested that the festival be extended by a day so that he could come and sing. I agreed. But then I found that I could not get a violinist for accompaniment. I remember: quite near here, around Maharaja’s High School, I was proceeding in my car and chanced to meet Vid. Mahadevappa. I told him of my difficulty in finding a suitable violinist. Vid. Mahadevappa said that if I had no objection, Nagaraj would fill in. At that time, Nagaraj was a mere stripling! You can see his photo from that concert in the website “A Home Called Parvathi”.

Yesudas was understandably apprehensive that a young boy would be playing the violin. But I assured him that I had full confidence in the youngster’s ability. That day, AIR had arranged a live broadcast by drawing a telephone line from our home. The next day, so many who had heard the broadcast called me, and expressed great appreciation about the violin accompaniment and surprise about Nagaraj’s talent at such a young age. That started off his career and today with his brother, he is doing very well. Vid. Mahadevappa is 3 years younger than me, I wish him long life to witness and enjoy the success of his children.

Vid. Neyveli Venkatesh will play the Mridangam today.I extend him my welcome. Prof. Ramanujam will play the ghatam. He has always been a strength to us. Of course, he has his own private complaint that I have not billed him any time on the mridangam. But somehow we have got used to his ghatam accompaniment and so it continues.

There is another very surprising fact about those on the stage today. We have always associated the Police Department with the "lathi" (stick) and Law and Order matters. But today, the Vidwan on the Khanjira is Mr. T. Dileep, Superintendent of Police, Mysore, whose hobby is music. He has learnt from Vid. TAS Mani- a veteran who has played 20-30 times in our Ramanavami festivals. We earlier had another SP, Mr. Ramanujam, who had great interest in music and had learnt the violin from Vid. Mahadevappa himself. But he had not performed in public. So in my 70+ years in the field of music, this is the first time that I am seeing a senior Police official come on the stage to perform for us. I wish that Mr. Dileep should continue to perform and graduate to the Mridangam. On the Tambura we have Ms. Pushpa Iyengar.

I welcome all the artistes and all of you once again."

A Rare Artiste – N. Ramani

The festive season has begun. After Krishna Janmashtami, Ganesha Chaturthi and Navarathri will follow soon. No better time than now to feature a beautiful flute recital of Vidwan N. Ramani! It is drawn from the treasure trove of Parvathi. In this concert of 1972, Vid. Ramani has been ably accompanied by Vid. Chalakudi Narayanaswamy, Vid. Vellore Ramabhadran and Vid. H. P. Ramachar. 

(Courtesy: kutcheris.com)

 Abheri, with the evergreen favourite Nagumomu, takes centre-stage. Vidwan Ramani elaborates the raga with varied hues. There are ample Hindustani touches as well as solid Carnatic nuances. The vision built up is one of vivacity, richness and elegance. Vid. Narayanaswamy responds with an extremely sweet touch. Nagumomu, with all the paraphernalia of an elaborate and brilliant swara dialogue, follows. 

This is only a truncated set of excerpts we have been able to retrieve. But some gems shine therein. Dharmavathi, with the rare krithi Bhajana Seyaradha of Mysore Vasudevachar, follows. This raga has an unusual stimmung, with dark corners and lush foliage. Perhaps the Dandakaranya forest in Rama’s time would have been vibrant with this raga. Dharmavathi seems very well suited to sing Rama’s praises, and we give below the sahitya and translation. Vasudevachar sings of Rama in the raga Dharmavathi. Rama, the crown prince who stands as the epitome of Dharma, even when wrongfully banished into the forest for fourteen years.

 Bhajana seya rada (Dharmavathi, Rupaka) – Mysore Vasudevachar

P: bhajana sēya rādā ō manasā śrī rāmuni - Can you not sing the praises of Rama, O Mind?

AP: aja bhavēndrādi nutuni sujanāvana lōluni (bhajana) - The one extolled by Brahma, Siva and Indra; one who enjoys protecting the noble.

C: paranārī sahōdaruni paripūrṇa kāmuni dharaṇijā manōharuni para vāsudēvuni śaraṇa janādhāruni sarasīruha nētruni niravadhi sukha dāyakuni paramātmuni bhakta pāluni - The brother to others' wives; fulfiller of desires, stealer of Sita's heart; the great Vaasudeva, Supporter of those who take His refuge; lotus-eyed, giver of boundless comforts; Supreme Lord, protector of devotees. 

We came upon an exposition of this same Dharmavathi krithi by Vid. Ramani elsewhere , dated as during 2008 Ramanavami. The mood and vibrancy in that rendition is identical to the one here during Ramanavami at Parvathi in 1972. Dr. N. Ramani is truly a rare artiste with such a wonderful mastery over this difficult instrument and an exemplar of the classical idiom for over over 5 decades! No wonder Vid. Ramani has been a great favourite with rasikas in Parvathi. This is in fact the fifth concert we feature here. 

What follows Dharmavathi is quite interesting. Bhaja Govindam, in the tune made popular by MSS. Then comes a beautiful Behag tillana composed by Vid. Lalgudi Jayaraman. And finally a rare Thiruppugazh in Kannada raga! A truly fulfilling listening experience in the festive season. 

Concert Details
(Ramanavami Concert at Parvathi, on 25 - 3 - 1972)
N.Ramani ------ Flute
Chalakudy Narayanaswamy ----------- Violin  
Vellore Ramabhadran ------------ Mridangam        
H.P.Ramachar ------------- Khanjira 
Song List
01-Evarani-Devamruthavarshini-Thyagaraja-6.39 ***02-Nagumomu-Abheri- Thyagaraja - 36.28***03-Bhajana seyarada-Dharmavathi - Mysore Vasudevachar-16.53*** 04-Bhaja Govindam - ragamalika - Adi Shankara-8.03***05-Jagadoddharana - Kapi - Purandaradasa-4.47***06-Tillana- Behag- Lalgudi Jayaraman-4.42***07- Thiruppugazh - Kannada - Arunagirinathar-1.39***08-Pavamana- Saurashtra-Thyagaraja-0.24